True Romance

Quentin Tarantino

Description

August 1992 early draft.

Sujets

• ACTION
• Crime
• Romance
• Thriller

Informations

• Publié par: script-cinema
• Nombre de lectures: 5
• Licence : En savoir +
  Paternité, pas d'utilisation commerciale, partage des conditions initiales à l'identique
• Langue: English

Extrait

TRUE ROMANCE

by

Quentin Tarantino

August 1992 Early Draft

FOR EDUCATIONAL PURPOSES ONLY

When you're tired of relationships, try a romance.

"His films are a desperate cry from the heart of a grotesque fast food culture."

 -French critics on the films  of Roger Corman.

"... Beyond all the naivete and stupidity, beyond the vulgarity inherent in the amount of money involved, beyond all this, a certain grandeur had rooted itself into the scheme, and I could still spy a reckless and artistic splendor to the way we had carried it out."

 -Clifford Irving  on the Howard Hughes  hoax.

FADE IN:

 TRUE ROMANCE

DETROIT SKYLINE - TWILIGHT MONOTONE

BEGIN MAIN TITLES. Gotham city in deep winter. PERCY SLEDGE hammers out, "When A Man Loves A Woman." Dark, overcast, snow-filled skies shroud big black monoliths set in wastelands of a post holocaust city -- occasional car headlights dissect the blackness.

SERIES OF SHOTS

Ansel Adams type city scapes, the CAMERA MOVES INTO the darkness of the vertical monoliths TO FIND occasional human creatures comforting themselves around open fires. Glimpsed, cracked lips and frightened eyes assault the CAMERA THROUGH a haze of cold breath.

A dark planet resembling the pupil of an eye reflects an open fire. Red veins dissect the gray, white void around the planet. It blinks -- it is an eye.

END OF TITLES.

FADE IN:

EXT. CADILLAC BAR - TWILIGHT

Gotham city rises up in the b.g.

INT. BAR - NIGHT

A smoky cocktail bar in downtown Detroit.

SCREEN TO BLACK:

CLARENCE WORLEY, a young hipster, hepcat, is trying to pick up on an older lady named LUCY. She isn't bothered by him, in fact, she's a little charmed. But, you can tell that she isn't going to leave her barstool.

CLARENCE In Jailhouse Rock, he's everything rockabilly's about. I mean, he is rockabilly: mean, surly, nasty, rude. In that movie he couldn't give a fuck about anything except rockin' and rollin', livin' fast, dyin' young, and leaving a good lookin' corpse. (MORE)

CLARENCE (CONT'D) I love that scene where after he's made it big he's throwing a big cocktail party, and all these highborws are there, and he's singing, 'Baby You're So Square... Baby, I Don't Care.' Now, they got him dressed like a dick. He's wearing these stupid lookin' pants, this horrible sweater. Elvis ain't no sweater boy. I even think they got him wearin' penny loafers. Despite all that shit, all the highbrows at the party, big house, stupid clothes, he's still a rude lookin' motherfucker. I'd watch that hillbilly and I'd want to be him so bad. Elvis looked good. I'm no fag, but Elvis was good lookin'. He was fuckin' prettier than most women. I always said if I ever had to fuck a guy... I mean had to cuz my life depended on it... I'd fuck Elvis.

Lucy takes a drag from her cigarette.

LUCY I'd fuck Elvis.

Really?

CLARENCE

LUCY When he was alive. I wouldn't fuck him now.

CLARENCE I don't blame you. (they laugh) So, we'd both fuck Elvis. It's nice to meet people with common interests, isn't it?

Lucy laughs.

CLARENCE Well, enough about the king, how 'bout you?

LUCY How 'bout me what?

CLARENCE How 'bout you go to the movies with me tonight?

2.

LUCY What are we gonna go see?

CLARENCE A Sonny Chiba triple feature. The Streetfighter, Return of the Streetfighter, and Sister Streetfighter.

LUCY Who's Sonny Chiba?

CLARENCE He is, bar none, the greatest actor working in martial arts movies ever.

LUCY (not believing this) You wanna take me to a Kung Fu movie?

CLARENCE (holding up three fingers) Three Kung Fu movies.

Lucy takes a drag from her cigarette.

LUCY (laughing) I don't think so. Not my cup of tea.

INT. DINGY HOTEL ROOM - DAY

TITLE CARD: "MOTORCITY"

3.

The SOUNDS of the CITY flow in through an open window: CAR HORNS, GUN SHOTS and VOICES. Paint is peeling off the walls and the once green carpet is stained black.

On the bed nearby is a huge open suitcase filled with clear plastic bags of cocaine. Shotguns and pistols have been dropped carelessly around the suitcase. On the far end of the room, against the wall, is a TV, "Bewitched" is playing.

On the opposite end of the room, by the front door, is a table. DREXL SPIVEY and FLOYD DIXON sit around it. Cocaine is on the table as well as little plastic bags and a weigher. Floyd is black, Drexl is a white boy, but you wouldn't know it to listen to him.

DREXL Nigger, get outta my face with that bullshit.

FLOYD Naw man, I don't be eatin' that shit.

DREXL That's bullshit.

4.

BIG DON WATTS, a stout, mean-looking black man who's older than Drexl and Floyd, walks through the door carrying hamburgers and french fries in two greasy brown paper bags.

FLOYD Naw man, that's some serious shit.

DREXL Nigger, you lie like a big dog.

BIG D What the fuck are you talkin' about?

DREXL Floyd say he don't be eatin' pussy.

BIG D Shit, any nigger say he don't eat pussy is lyin' his ass off.

DREXL I heard that.

FLOYD Hold on a second, Big D. You sayin' you eat pussy?

BIG D Nigger, I eat everything. I eat the pussy. I eat the butt. I eat every motherfuckin' thang.

DREXL Preach on, Big D.

FLOYD Looky here. If I ever did eat some pussy -- I would never eat any pussy -- but, if I did eat some pussy, I sure as hell wouldn't tell no goddamn body. I'd be ashamed as a motherfucker.

BIG D Shit! Nigger you smoke enough sherm your dumb ass'll do a lot a crazy ass things. (MORE)

BIG D (CONT'D) So you won't eat pussy? Motherfucker, you'll be up there suckin' niggers' dicks.

DREXL Heard that.

Drexl and Big D bump fists.

FLOYD Yeah, that's right, laugh. It's so funny, oh it's so funny. (he takes a hit off of a joint) There used to be a time when sisters didn't know shit about gettin' their pussy licked. Then the sixties came an' they started fuckin' around with white boys. And white boys are freaks for that shit --

DREXL -- Because it's good!

FLOYD Then after a while sisters get used to gettin' their little pussy eat. And because you white boys had to make pigs of yourselves, you fucked it up for every nigger in the world everywhere.

BIG D (solemly) Drexl. On behalf of me and all the brothers who aren't here. I'd like to express our gratitude --

Drexl and Big D bust up.

FLOYD Go on, pussy eaters... laugh. You look like you be eatin' pussy. You got pussy-eatin' mugs. Now if a nigger wants to get his dick sucked he's got to do a bunch of fucked up shit.

BIG D So you do eat pussy!

Naw, naw!

FLOYD

5.

BIG D You don't like it but you eat that shit. (to Drexl) He eats it.

DREXL Damn skippy. He like it too.

BIG D (mock English accent) Me thinketh he doth protest too much.

FLOYD Well fuck you guys then! You guys are fucked up!

DREXL Why you trippin'? We jus' fuckin' with ya. But I wanna ask a question. You with some fine bitch, I mean a brick shithouse bitch -- You're with Jayne Kennedy. You're with Jayne Kennedy and you say; 'Bitch, suck my dick!' And then Jayne Kennedy says; 'First things first, nigger, I ain't suckin' shit till you bring your ass over here an' lick my bush!' Now, what do you say?

FLOYD I tell Jayne Kennedy 'suck my dick or I'll beat your ass!'

BIG D Nigger, get real. You touch Jayne Kennedy she'll have you ass in Wayne County so fast --

DREXL Nigger back off, you ain't beatin' shit. Now what would you do?

FLOYD I'd say fuck it!

6.

Drexl and Big D get up from the table, disgusted and walk away leaving Floyd sitting all alone.

Big D sits on the bed, his back turned to Floyd, watching "Bewitched."

FLOYD (yelling after them) Ain't no man have to eat pussy!

BIG D (not even looking) Take that shit somewhere else.

DREXL (marching back) You tell Jayne Kennedy to fuck it?

FLOYD If it came down to who eats who, damn Skippy.

DREXL With that terrible mug of yours if Jayne Kennedy told you to eat her pussy, kiss her ass, lick her feet, chow on her shit, and suck her dogs dick, nigger, you'd aim to please.

BIG D (glued to TV) I'm hip.

DREXL In fact, I'm gonna show you what I mean with a little demonstration. Big D, toss me that shotgun.

7.

Without turning away from "Bewitched" he picks up the shotgun and tosses it to Drexl.

DREXL (to Floyd) Allright, check this out. (referring to shotgun) Now, pretend this is Jayne Kennedy. And you're you.

Then, in a blink, he points the shotgun at Floyd and BLOWS him away.

Big D leaps off the bed and spins toward Drexl.

Drexl, waiting for him FIRES from across the room.

The blast hits the big man in the right arm and shoulder, spinning him around.

Drexl makes a bee-line toward his victim and FIRES again.

Big D is hit with a blast, full in the back. He slams into the wall and drops.

Drexl collects the suitcase full of cocaine and leaves.

As he gets to the front door he surveys the carnage, spits, and walks out. CUT TO:

INT. LYRIC THEATER - NIGHT

8.

Sonny Chiba, as "Streetfighter" Terry Surki, dives into a group of guys, fists and feet flying and whips ass on the silver screen.

Clarence sits, legs over the back of the chair in front of him, nibbling on popcorn, eyes big as saucers, and a big smile on his face.

EXT. LYRIC THEATER - NIGHT

A cab pulls up to the outside of the Lyric. The marquee carries the names of the triple feature: The Street- fighter, Return of the Streetfighter, and Sister Streetfighter. ALABAMA steps out of the taxi cab and walks up to the box office.

A BOX OFFICE GIRL reading an Iron Man comic looks at her.

ALABAMA One, please.

BOX OFFICE GIRL Ninety-nine cents.

ALABAMA Which one is on now?

BOX OFFICE GIRL Return of the Streetfighter. It's been on about forty-five minutes.

INT. LYRIC THEATER - LOBBY - NIGHT

Alabama walks into the lobby and goes over to the con- cession stand. A young Usher takes care of her.

ALABAMA Can I have a medium popcorn? A super large Mr. Pibb, and a box of Goobers.

INT. LYRIC THEATER

It's still assholes and elbows on the screen with Sonny Chiba taking on all comers.

Alabama walks through the doors with her bounty of food. She makes a quick scan of the theater. Not many people are there. She makes a bee-line for the front which just so happens to be Clarence's area of choice. She picks the row of seats just behind Clarence and starts making her way down it.

9.

Clarence turns and sees this beautiful girl all alone moving towards him. He turns his attention back to the screen, trying not to be so obvious.

When Alabama gets right behind Clarence, her foot thunks a discarded wine bottle, causing her to trip and spill her popcorn all over Clarence.

ALABAMA Oh, look what happened. Oh God, I'm so sorry. Are you okay?

CLARENCE Yeah, I'm fine. It didn't hurt.

ALABAMA I'm the clumsiest person in the world.

CLARENCE (picking popcorn out of his hair) It's okay. Don't worry about it. Accidents happen.

ALABAMA (picking popcorn out of his hair) What a wonderful philosophy. Thanks for being such a sweetheart. You could have been a real dick.

Alabama sits back in her seat to watch the movie.

Clarence tries to wipe her out of his mind, which isn't easy, and get back into the movie.

They both watch the screen for a moment. Then, Alabama leans forward and taps Clarence on the shoulder.

ALABAMA Excuse me. I hate to bother you again. Would you mind too terribly on filling me in on what I missed?

Jumping at this opportunity.

CLARENCE Not at all. Okay, this guy here, he's Sonny Chiba.

ALABAMA The Oriental.

CLARENCE The Oriental in black. He's an assassin. (MORE)